A rite of passage for ‘The Bonnet Portrait of Emily Brontë’ —— posted at Summer Solstice. . .
And Scorhill Sacred Stone Circle. . .
And Shovel Down Stone Avenue. . .
And Kes Tor’s rock basin. . .
Kes Tor Rock.
And an ‘after hours’ flying visit to Dartmoor’s only Dolmen —— to ‘Spinster’s Rock’ near Drewsteignton; “The village of the Druids on the River Teign”. . .
The legend goes that three exceptional women re-erected the ancient Dolmen after it collapsed in 1862; the capstone alone is estimated to weigh 16 tons so no mean —— or maen feat! The legend doesn’t divulge the women’s marital status —— only that they were spinners and weavers of yarn! —— hence its name ‘Spinster’s Rock’. I like to imagine that the spirits of Charlotte, Emily and Anne had a hand!
A giant orb captured floating above the Dolmen’s capstone; I also picked-up a lucky black feather —— ever an auspicious sign!
Giant Orb above the Dolmen near Drewsteighton – Tuesday, 31st May 2022.
Tale(s) of the unexpected. ‘The Witchcraft and Folklore of Dartmoor’ by Ruth E. St.Leger-Gordon – my go-to book of ‘the moment’! It’s a great source of inspiration by a local writer with a ‘surprising’ Yorkshire twist!
One couldn’t make this fantastic-all stuff up! It’s official, Jane Eyre, The Brontë Sisters and Dartmoor ARE linked!
In case you haven’t gathered, this blogpost is about my love of Dartmoor’s ways —— and how the Moor’s ancient landscape and the things I discover in connection —— feed and sustain my unwavering belief in Charlotte Brontë’s long ‘lost’ portrait of her sister, Emily. Stones as big as boulders, upstanding stones and whole towering Granite stacks —— known as Tors —— are witnesses to ‘The Bonnet Portrait of Emily Brontë’. . .
Rock! Paper! Truth. Emily leaning on Scorhill’s main maen for support! It is the tallest standing stone in the sacred circle and measures eight feet above ground! And if you are wondering about my ‘wrong’ spelling; ‘Maen’ is Celtic for stone!
Characterful Steng-a-Tor even looks like it is wearing a big bonnet in support of ‘The Bonnet’!
‘Great Links’ —— this Tor’s actual name and there evidently ARE!
Let There Be Light. Rubber-stamped paper copy of the true ‘lost’ portrait of Emily Brontë inside Fur Tor’s main rock stack. ‘Fur Tor’ or ‘Far Tor’ or ‘Queen of Dartmoor’ —— is Dartmoor’s remotest Tor, and therefore demands a degree of determination to get there.
Telling Dartmoor’s Knowstones about Charlotte Brontë’s long ‘lost’ pencil sketch of her sister, Emily —— is a fortifying exercise; in contrast to telling the Brontë Establishment —— who can’t be asked to listen! Nay won’t listen.
Puzzles me why Brontëites insist on idolising —— nay idealising —— a misidentified portrait of ‘Emily’ Brontë? —— that’s in fact a portrait of Anne Brontë painted by Branwell! Oh dear —— it does seem to be poor Anne’s lot to be permanently consigned to stay in the shadow of her sister(s).
Right: The wrong ‘lost’ portrait of ‘Emily’ in the National Collection. The whole ‘lost’ portrait mix-up is a crazy impasse caused by misidentification a long time ago; the sitter isn’t Emily but Anne Brontë.
And then there’s the absurd adoration of the daguerreotype photograph of three ‘nameless’ Victorian women that made a habit of posing as the Brontë Sisters. . .
Left. These are the exact same three women as those seen posing as the Brontë Sisters in the romanticized daguerreotype image. This particular ‘Carte de Visite’ or ‘cabinet card’ dates to circa 1860 at the earliest by which time the real Brontë Sisters were all sadly deceased. The daguerreotype is a fake.
Meantime, this is the real ‘lost’ portrait of Emily Brontë drawn by Charlotte that remains erroneously cast out.
It is a portrait that has suffered unfairly at the hands of fate – but more so at the hands of the Brontë Establishment who are in complete denial that it is a portrait of “E-M-I-L-Y” by Charlotte. In their eyes, the portrait doesn’t appeal to their sensitivities about Emily’s supposed appearance so they have put themselves above the artist that drew it —— like they know better than Charlotte Brontë did! I ask, when did the Brontë Establishment assume ownership of the Charlotte, Emily and Anne?
I KNOW that the so-called expert(s) that ‘looked’ at the drawing in 2019 —— didn’t examine it. Their preconceived opinion of the 1894 photogravure in the ‘Woman at Home’ blinded them to reason – to the point that they didn’t once use magnification or a slant of bright light to get at the truth. The portrait bears a microscopical signature, “C BRONTË”.
“E-M-I-L-Y” did not get a fair hearing because the individual(s) that judged the drawing refused to see beyond their own deep-seated loathing of the portrait ‘type’; the drawing’s intrinsic originality was completely overlooked. Indeed, their conclusion that the drawing is “stylistically incorrect” for a Charlotte Brontë attribution —— was nothing less than a lie of convenience to silence the ‘Bonnet’ permanently. Just as well then that the ‘lost’ portrait of Emily Brontë found its voice in me. . .
From left to right. The folds in Emily’s drapery clearly and boldly identify the sitter as “E-M-I-L-Y”. The edited image on the right has only had the ‘grey areas’ removed in order to expose the ‘folds’ that spell out the subject’s name “E-M-I-L-Y”.
“E-M-I-L-Y” highlighted in yellow.
Despite the fact that the ‘Bonnet Portrait’ of Emily Brontë is a recognisable portrait ‘type’ with a long history of a hundred years plus —— the portrait ‘type’ remains broadly unrecognised by those that don’t share an interest in Brontë matters; it’s no wonder then that the drawing is a ‘sleeper’ with more than just one meaning. A ‘sleeper’ in the world of buying and selling antiques is an artwork (or antique item) that has slipped through the auction net undetected due to an expert’s oversight —— and consequently is undersold. The ‘lost’ portrait of Emily Brontë is a true, modern-day ‘Sleeping Beauty’ —— whose story demands to be told. . .
The ‘Bonnet Portrait of Emily Brontë photogravure published in 1894 and 1896 respectively. Whose Editor-In-Chief just ‘happened to be’ one and the same, Sir William Robertson Nicoll —— who saw the ‘lost’ portrait of Emily Brontë – drawn by her sister Charlotte, when he visited the Brontë family’s faithful servant, Martha Brown in 1879.
In 2016, the ‘lost’ portrait of Emily Brontë miraculously found its way into my hands —— but alas a 122 year interim period of unchallenged antipathy towards the 1894 ‘Woman at Home’ photogravure proceeded the ‘lost’ portrait’s discovery. Honestly, Brontëites the World over have been seriously and historically misled!
Once upon a time, an original sanguine version of the ‘Bonnet Portrait of Emily Bronte’ hung on the Parsonage Museum wall beside Henry Houston Bonnell (seen right) the very gentleman who bequeathed the portrait to the museum. Bonnell was an important American collector of Bronteana who bequeathed his collection to the museum after his death in 1926.
Sadly, today’s Brontë Establishment regard the original ‘Bonnet’ drawing, ‘The Woman at Home’ photogravure —— and their own version of the portrait ‘type’ —— all in a very unfavourable light.
It’s no wonder then that ‘Emily on the Parsonage Wall’ looked so up for the challenge ahead! On the two occasions that I visited the museum in 2017 and 2019, I have absolutely no recollection of seeing Emily’s striking red or sanguine portrait on the wall, not even in the modern-day ‘Bonnell Room’. No doubt it’s been put in storage – effectively filed.
In an effort to ‘return to sender(s)’ the ill thought that persists towards Charlotte’s ‘lost’ drawing of her sister, Emily —— a virtual image of the original drawing was successfully threaded through the purifying Tolmen Stone. . .
The hole caused by thousands and thousands of years of water erosion —— is large enough for a full-grown adult to climb through with room to spare; it is believed to be a cure for rheumatics also! The Druids used the hole for purification – and it is in that same spirit that Emily’s virtual image was passed through the hole; a rebirth! Understand that the original drawing is pure —— it’s as genuine as the day is long; it is the ‘hundred year old’ curse on the portrait ‘type’ that required urgent cleansing!
It’s a simple fact that after one-hundred-and-twenty-eight years of rejection —— the portrait ‘type’ continues to defy the odds stacked against it; one only need type “Emily Brontë” into Google’s search engine —— to verify this. The World’s most popular search engine places ‘The Bonnet’ in pole position on their overview page of an Internet search of “Emily Brontë” —— which speaks volumes above the Brontë Establishment’s conspiracy of silence to keep the lid on the portrait ‘type’. ‘The Bonnet’ refuses to be silenced for the pure and simple and honest reason that it is genuine.
Indeed, if the Truth about the ‘Bonnet Portrait’ was audible ——— it would sound like the North Teign thundering through the Tolmen Stone in full spate!!! Just listen to the proof right at the very end of this post to listen! Meantime, here’s Google’s reeeesult! Tuesday, 21st June 2022. . .
Highlighted screenshot. Google search engine result “Emily Bronte” Tuesday, 21st June 2022
For all these reasons and more —— I promise to continue with my ‘madcap’ actions in defense of ‘The Bonnet’!!! —— because Charlotte’s small, pencilled ‘square’ of ‘J Whatman’ watermarked paper has enriched my life beyond the portrait’s ineffaceable true worth. Indeed, the Brontë Establishment’s historical denial of ‘The Bonnet Portrait’ drawing —— and all its versions —— is wholly their lose.
If it wasn’t for “E-M-I-L-Y” —— I’d never have got to know enlightened retired Professor of Literature, Christopher Heywood. Or held his beloved £25k “twinnie” of Emily Brontë in my hands; that’s how much Christopher believed in ‘The Bonnet’ —— and my research. He wrote two papers championing ‘The Bonnet Portrait’ of Emily Brontë —— that were published in ‘Brontë Studies’ —— but predictably his second paper featuring the newly discovered drawing was broadsided by three big Brontë guns! Considering that almost all articles published in Bronte Studies since 1895 —— trigger no responses at all from the journal’s subscribers, Christopher’s second article can only be regarded as a bit of a coup for ‘The Bonnet’! Christopher Heywood’s championing of ‘The Bonnet Portrait’ of Emily Brontë —— clearly touched a raw nerve in the upper echelon of the Brontë Establishment!
Oh how I miss his wizard form of thinking! Sadly, Christopher passed away in February 2021 —— and thereby, he passed ‘The Bonnet’ baton to me to keep alive —— and kicking!!! After his death, his much treasured, evergreen painting of Emily was sold at auction to an unknown but discerning private collector.
‘Like it says on’t tin’. A timeworn inscription on the back of the painting reads: “Emily Brontë/sister of Charlotte/Currer Bell”.
The Prof. with the ‘lost’ portrait of Emily Brontë in his hands.
I vowed to Christopher, that I would continue to strive to complete his dear unfinished task.
That ALL said, I’m now ready to share Emily’s first rite of passage through The Tolmen Stone! The Tolmen is situated in the North Teign river and is only passable when its surface is dry and the current is running low!
My inward impression of the original ‘Bonnet Portrait’ drawing —— is something that I carry effortlessly around with me at all times; quite often I forget that ‘E-M-I-L-Y’ is there because she is lighter than a feather! However, in order to pass a tangible, visible image of Emily in her Bonnet through The Tolmen —— without dropping my external, electronic apparatus in the North Teign —— I was willingly and ably assisted by my tall walking companion, Tom. Once he’d threaded E-M-I-L-Y through The Tolmen Stone his arm rose Excalibur-like back through the hole. I captured this shot for posterity —— or do I mean prosperity? Indeed both!
E-M-I-L-Y virtually threading the Tolmen Stone.
Rock! Paper! Truth.
Paper copy of the ‘lost’ portrait of Emily Brontë inside the Tolmen Stone. E-M-I-L-Y’s second threading in a fortnight!
There is such a magickal, silvery light down inside The Tolmen Stone. Not able to be seen other than by myself —— is the inward impression of the ‘lost’ portrait of Emily Brontë —— that I take with me everywhere I venture on Dartmoor.
Note too, a couple biting, stinging midges giving my forehead the needle; in a physical —— and metaphorical sense, pesky midges —— and their like —— don’t deter either me or ‘The Bonnet’; one simply gives them the brush-off!
Somewhere between threading the hole and an ‘after hours’ visit to Spinster’s Rock —— I successfully bid for a purely Brontë-related book at Scorhill Sacred Stone Circle —— 31st May 2022 at precisely 10:19:46pm BST! With just two seconds to spare plus the power of Dartmoor’s Knowstones at my fingertips —— I won a signed copy of an antiquarian book that I had been meaning to source for quite some while. Since I started my ‘Bonnet Quest’ in 2016 —— I have seen a couple other copies of this quite rare and sought-after book for sale but had resisted buying either of them —— and now I know why. I have a feeling its author, Charles Simpson —— wanted me to be this chosen copy’s new keeper; it was a gift in that sense! 
1929 EMILY BRONTË Biography By Charles Simpson with signed message. F Harold Sunderland, to whom the book is inscribed —— I believe had links/family ties with ‘High Sunderland Hall’ inspiration for Emily Brontë’s ‘Wuthering Heights’.
The real ‘lost’ portrait of Emily Brontë with Charles Simpson’s signed copy; somethings are destined to be together. The last chapter (pages 201 to 205) has particular relevance to my field of research.
Therefore, it is important to read the entire chapter in order to better grasp the mistakes made by the Brontë Establishment and the National Portrait Gallery who together (aided and abetted by meddling literary critic Clement Shorter——see page 203 below) misidentified Branwell’s portrait of Anne Brontë —— as the ‘lost’ portrait of Emily. They got it all wrong about the ‘lost’ portrait but still won’t admit it!
In 1893, he repeated his original statement that the ‘lost’ portrait of Emily WAS a drawing —— “It is proposed to establish a Brontë Society… The chief desideratum is the excellent pencil sketch of Emily Brontë, drawn by Charlotte, which was in the possession of Martha Brown, the old servant of the family, and is now lost. I saw it thirteen years ago, and vainly endeavoured to purchase it. I have vainly endeavoured to trace it since.”
William Robertson Nicoll, 1893
William Robertson Nicoll was an early president of the Brontë Society; oh if only he were alive still, things would be very different for the true ‘lost’ portrait of Emily Brontë.
The whole of chapter five (pages 201 to 205) “A NOTE ON THE PORTRAITS” to read uninterrupted. . . 
List of illustrations. Ellen Nussey was Charlotte Brontë‘s life-long friend and was familiar with all the Brontës.
The “Gun” group print on which Ellen Nussey wrote the initials of the Brontës —— “A B” for Anne Brontë.
I assure you “Martha Brown’s picture” is found!
The “Gun” group print on which Ellen Nussey wrote the initials of the Brontës —— “E J B” for Emily Jane Brontë; it’s plain to see that the planes of “E J B’s” face and E-M-I-L-Y’s face are identical —— not to mention their expressions.
The ‘lost’ portrait of Emily Brontë supported by Assycombe’s top “Blocking Stone” —— Fernworthy Forest, Dartmoor.
Dartmoor has the largest concentration of prehistoric sacred stones anywhere in the United Kingdom —— so there are many more listeners to show and tell about our “E-M-I-L-Y”!
Sir William Robertson Nicoll’s original statement about Martha’s portrait of Emily Brontë.
A small, antique watercolour painting depicting Scorhill Sacred Stone Circle; it was in this same circle that I won Charles Simpson’s signed book!
May the force be with the true ‘lost’ portrait of Emily Brontë; ‘THE BONNET’ WILL NOT BE SHOOSHED!